Watercolor Loose Florals: Paint and Explore | Garima Srivastava | Skillshare

Watercolor Loose Florals: Paint and Explore

Garima Srivastava, Artist and Illustrator

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
28 Lessons (2h 33m)
    • 1. Introduction

      2:39
    • 2. Project Overview

      0:35
    • 3. Supplies

      2:08
    • 4. Watercolor Concepts

      8:07
    • 5. Brushstrokes Practice

      6:03
    • 6. Generic Flowers

      5:04
    • 7. Generic Flowers-II

      7:31
    • 8. Anemones

      3:01
    • 9. Roses

      5:35
    • 10. Ranunculus

      3:55
    • 11. Peonies

      4:54
    • 12. Hollyhocks & Lavender

      6:58
    • 13. Delphiniums

      4:28
    • 14. Hydrangea

      13:24
    • 15. Foliage Color Mixing

      4:31
    • 16. Leaves-I

      5:11
    • 17. Leaves-II

      7:16
    • 18. Fillers

      7:00
    • 19. Simple Arrangements

      9:15
    • 20. Types of Composition

      3:06
    • 21. Multiple Flowers Simple Arrangements

      6:21
    • 22. Sample Project-I

      5:47
    • 23. Sample Project-II

      4:49
    • 24. Composition Tips

      2:55
    • 25. Sample Project-III Part-1 (Complex)

      6:41
    • 26. Sample Project-III Part-2 (Complex)

      7:49
    • 27. Sample Project-III Part-3 (Complex)

      7:28
    • 28. Conclusion

      0:35
38 students are watching this class

About This Class

36d2ac12

Do you love the look of watercolor loose florals and would you like to learn how to paint them from scratch?

Join me in this class and learn how to paint a variety of flowers, leaves and fillers in easy loose floral style with watercolors.

This carefully crafted class has been designed to take you from beginner’s steps to advanced if you follow all the lessons.

There is special emphasis on: 

  • Painting in real time
  • Extra brushstroke practice 
  • Continuous view of the color palette
  • Lots of examples

This class is suitable for all skill levels. While beginners will enjoy the step by step approach to the basics of painting loose watercolor florals, experienced artists will enjoy many useful tips on color mixing, composition building and my painting approach.

In this class you’ll learn:

  • Simple supplies to get started
  • Basic watercolor concepts 
  • Brushstroke practice 
  • How to paint 10 individual flowers with lots of brushstroke practice 
  • Color mixing for foliage 
  • How to paint a variety of leaves
  • How to paint easy filler elements 
  • Composition tips
  • How to build many simple to complex floral arrangements with every single brushstroke explained.

At the end of this class you will have your own spread of flowers and leaves that you practiced and floral arrangements ranging from very basic to complex.

This class has been broken down into digestible lessons with projects arranged in increasing level of complexity. So take your time to get comfortable with one and then you will feel at ease to move to the next level.

Let’s make loose florals easy!

Looking forward to seeing you in my class.

Garima 

Transcripts

1. Introduction: Hi, my name is gone Russia. Massive. I'm an artist and illustrator based in Amsterdam and some off. You also know Mia's my little basement, that studio on Instagram, where shame on our journey through outpost short video tutorials on paint along sessions. Simply put, I love creating out and sharing my process with anybody who wants to learn. Welcome to my skill, Sattana. Throughout my career, I've painted with many out mediums, but I simply love watercolors the most. It's not just a popular medium for me, but the most therapeutic one off them all. So if you're looking for a hobby to relax, I just want to get started with watercolors. I would say Don't think twice. And if you like the look off loosely painted watercolor botanicals, then you have the right place because painting them comes second nature to me. And I love sharing my process with anybody who finds lose watercolors even a bit intimidating. So let's get your watercolor lose. Floral journey started with this class. I've created this real time class, keeping all skill levels in mind. If you're begin, everybody color. I'll did you the simple supplies you will need to get started, I'll walk you through Simple watercolor concepts will practice lots of restaurants while we paint a huge variety of flowers on leaves. You will learn how to make their own colors to create interesting foliage and how to put together your own simple floral arrangements. But if you already experience robotic Alors, you would still enjoy this class as I share my process, along with composition tips to paint both simple and complex arrangements in Lose watercolor stand. I've divided this class into smaller lessons so that you can follow them at your own pace and there plenty of project options to choose from. As the project for this class, you can decide to paint. One of the many floral arrangements will be painting in this class or a floral spread like this. I hope I got too excited about this class, so let's get started. Yeah, 2. Project Overview: welcome to the class. Before we get started, I want to share with you an overview of the projects that you can create. Using what you will learn in this class, you can create a floral spread like this. I decided to paint one of the many floral arrangements ranging from basic to complex that will pained in this class. You can use the products that you will create in this class as wall decor on, digitized them for your designing purposes or explore print on demand options. So let's not waste much time and get started. 3. Supplies: Let's have a look at the simple supplies amusing for paper. Amusing. These locally made Prica 300 years and cold press papers for the project. I'll be using our days as 300 GSM cold pressed paper bat. I've got the sheets into smaller sizes, and I really like the texture that's on this paper. So I've got quite a few of them ready for me to practice and pain. Don't for brush. I'm using a mop number one. It's got a nice point. Do it and holds a lot of water in it. I'm using synthetic sable number six round pointed brush on a synthetic blend number four round pointed brush. I've got a spritz bottle to activate my colors. Some kitchen paper tavel to soak excess water, a jar of clear water on an extra mixing tree. Now, before I show you the colors, I want you to note that you do not need these exact shades off colors. I will attach a color chart under resource is section of this class and also list all the colors in the end of this video so that you can find something generate are similar from your own color ballot. Now let's look at the colors. So 1st 1 are yellow. I've got Arlen yellow, then connector. Don't gold for pinks. Have got Conacher, Joan, Magenta and connect. Crotone Rose for deeper. It's I've got Caroline maroon on a lizard in crimson. This is dioxins in Violet. I've got cobalt blue, Taylor blue, Lots of indigo here. A little bit of lamp black here on some sap green here. So just find something similar out of your color ballot. 4. Watercolor Concepts: Now let's look at some of the Voreqe alert concepts. So before I get started, I'll just use my spritz bottle to spray some water on my color ballot to activate the colors. So they're basically two ways of putting colors on your paper. One of them is gold veteran dry, and the other one is called Wet on Wet. So we're going to first check wet on dry, followed by wet on wet. So to get started, let's make some color in my brush. Soldiers rings my brush. I'll keep my kitchen paper travel handy, and now I'll just make some color to remove excess water. All you have to do is just don't you brush to the edge of for a paper travel, and it will soak excess water. So what dry means on a dry paper? You're adding a vet layer off color so the paper is dry and you're using wet color on top off it that seat one more time, so papers dry and I'm adding that color on top of it. Now we'll wait for this to dry to see if your color has dried or not. You can tell the paper to see if there is a shine in it or not. If it's got a shine, it means it's definitely red. And if it feels a bit called to the back off your hand, so just gently touch from the back off your hand, it will still be vet. So let's rate for destroy drug now that these have dried. Now, I'm using another layer of that color on top of this dried layer of colors, so this is also called wet on dry. You're adding that layer on a dried color layer. Now let's look at wet on wet. What that means is paper is wet when you were adding that color on top. So let's wet this little area with some clear water in our brush. And now let's makes a little bit of pink not too much water right now, and I'm just going to add that color. What color on a vet area so you can see how softly it's bleeding, so this is wet on wet. Another example would be you lay a wet wash off or color down so good some indigo laid down here, and now I'm going to mix another color, vile this indigo is wet. I'm going to add another color so you can see her softly. It bleeds out. So this is a vet on vet. Now let's use both of the techniques to create two pedals, so 1st 1 is wet on dry, so I'm just mixing some color in my brush. And now with do brushstrokes, I've got one pedal. So what color on dry paper Now for return, ret. I'm making a pedal shape with clear water and now, using that same color mix and adding, do a few spots on this Bedol and letting the color flow in it. You can move the color around with your brush so you can see how soft this better looks, so this is wet on wet. You can also add another red color while this battle is still red. So some deeper red here and let it bleed. So this was the difference between the two techniques. You get defined. It is under threat on dry on fuzzy look under vet on vet. There's another way off, softening and edge. So, for example, will use this pink color to create a little bar here. And if I let it dry like this. It's going to have hard edges. But if I want to see often up the bottom edge, I'll just with my color better dry and run it along the edge of one too soft in up. So it kind of pulls the color with a very small amount of moisture and so often sit out. Now let's see it one more time. Big Sam Indigo this time and create sort of a rounded shape, and now I'm going to make the right edge softer, severance bad dry on. Run it along the edge. So these were both of the techniques. Today will mostly be using wet on dry, but it's also important to learn the other technique. Now let's talk about values so really sure you. Examples of three values we don't do is make some color, all for a speak. Some color in my brush on makeup puddle with lots of water in it, so just small amount of color and lots of water. Now I'm going to make another puddle with the same amount of color and a little less water , and in the third bottle, I'm just going to pick the vet color out of the ballot and no extra water. Now rinse my brush. Better try, and I'll big the color from the first bottle. And I'll paint a little shape here, and you can see how light the washes. This is a light value. Hundreds my brush, but it dry big from the second puddle and paint next to this first shape, and you can see it's a bit darker value here. Now again. Rinse my brush, battered dry on pick from them last bottle and paint next to the 2nd 1 and you can see how it's darker than the previous two. So I went from light value to a darker value. So I have. The 1st 1 is the lightest value on les the second, or the medium value on top of it, and the darkest one among the three. On top of all of these, so you can create interest by adding darker value details on a light metal or relief. Now, next technique I want you to learn is go lifting the color so I'll paint a small leaf shape here with some indigo, and I want to lift the color so that we can create a mid rain here so I'm just rinsing my brush, patting and dry on the kitchen paper travel. And now, with the use off the tip of my brush, I'm going to press it against the area. We're avant the color to lift. Go back in, better dry your brush and then go back in and you can see how gently it lifts the color. And it creates a mint Wayne here. So this technique will help you to create very subtle highlights. So these were some of the important concepts. This one was values, and this one was lifting. In the next video, we're going to start practicing some brush strokes with our brushes. Andi creates, um, generate better aunt leave shapes. 5. Brushstrokes Practice: Now let's practice some brush strokes. So in my more pressure, I'm going to pick some nice and juicy color off indigo, and I'm holding my brush die tear and with the use of just the tip off my brush and making fine lines little coiled curves, simple curves pressing my brush. So if you see streaks like this, that means your paper was rough on. There wasn't enough moisture in your brush, so it's time to reload your brush. So Dutch your brush, press and lift, touch, person lift, touch, prison lift and exercise. I tell all my students is touch press on left touch present left to go from 10 to take stroke. You can use the same exercise to practise the brush strokes with the appointed round brush . So I'm picking my number four synthetic blend brush and with the use off just the tape. I'm creating these fine lines holding members. Sh tight here. I'm just fine lines with it. Can also agreed some broader strokes with it, and this exercise will let you know how fine are how wide your brush can go. So do this exercise with the A brush. Now let's create some generate battles and leaves. So in my pointed number six round brush, I'm picking some color and holding it quite low, resting my wrist quite comfortably touching, pushing and sort of gliding it on the paper and with two brushstrokes and making a pedal. Let's see it one more time. Touch, push and let go. Touch, push and let go. Let's see one more time. Touch, pushin, go touch pushin. Let go. You can create it pretty quickly with just one brush stroke as well. So just one breast stroke or create them in do brushstrokes or multiple ones. You can also use your mop brush to create the petals, so one of the raises you touch push straight to new brush on. Go back in with just the tip of the brush. Let's see it one more time. Hold it tight. Push and straight and duct tape on. Go back in with just the tip of the brush. Touch, push, straighten on. Go back in. You can create pretty simple ones by just touching, pushing and letting it go. It makes them look quite loose like this. So just touch portion let go, touch pushing, Let go touch pushin let go now to create the leaves will be using almost the same brush strokes, but with a bit more delicate touch to it. So for one stroke, leave just touch, push and lift Now for two breast strokes, touch bush and left. Sort of tapered touch portion left with a little bit of ICT in the center. Let's see it one more time. Hold it tight. Dutch Bush Lift for the next brushstroke started the bottom touch portion lift and leave a little bit of right in between. You can create a composite leaf with multiple double brushstroke leaves in it, or you can also create the composite live out of single brushstrokes, so single ones touch push on paper touch person taper. So these were some very basic brushstrokes for leaves and petals on will be using them to create different kinds of flowers and leaves later in the lesson. You can also create leaves with your mob rush, so simply pick the color on the same breastroke. Touch bush and let go. If you jiggle your brush in the end, it will give you baby leaf. So touch bush and as you going out, give it a wave touch portion sort of a bit a bit, so this gives you kind of this, believes you will also need to learn to create fine lines and twigs. So in my pointed round brush, I discreet fine lines attached. Little twigs learn to create little rounded shapes for little Berries. Who just little circles for details. So, basically, you need to know your brush. How fine little marks you can create with it. Try. Do greed, fine lines, press your brush, create little dots and dabs with your brush and get to know your brush to know what kind of market makes by pressing different parts of your brush down on the paper. And now let's get started with the flowers. 6. Generic Flowers: Now let's paints, um, gender. Rick Flowers. So the 1st 1 I'm picking some yellow in my pointed number four brush, and I'm just creating a rough, rounded shape. I'm trying to leave a little bit of right in the center and a pretty rough, rounded shape. I'm not trying to make it a perfect circle, and now let it dry for the second flower, I'm picking some pink makes under a touch of canal Crotone gold in the end, and with just one or two breastroke, I'll create one petal. Second pedal tard picked the color again on foot, so this is a four petals lover. It's eat one more time something a touch of the connected own gold one pittle second, third. So each petal is made out of two press strokes on foot, leaving a little bit of right in the center. You can also create them pretty quickly by just single brushstrokes, so one do three underfoot. You can wait for the pedals to dry before you at the centers, but I do not mind this green bleeding in. So just little dots of green, not too much water. Now let's create for Pittle flowers that are angled away from you, So the same pink on DCA Naqura don't gold makes start with the first big pedal. Do 10 petals on the side on the last petal towards you. Horizontal. So one. Do three on horizontal fort at the centers to them. Let's see it one more time. One second tied on and Fort Ananda Yellow Center this time. So now let's practice the five petal flowers for that. The same mix off pink and a touch of Conacher. Don't gold at the end. First petal. Second Ford Andi fifth. So I do not mind whether I'm creating the pedals by going outwards are coming back in, but you can stick to one of the methods so tired for it on fifth. Now let's add some deeper red centers in some peril in maroon, Not much water in it. Pretty take makes. Now, let's see it one more time with some Conacher Joan Rose. So first petal do brushstrokes second, third Fort on fifth, and you can add some green center to this. So now let's see the flowers, five little flowers facing away from you. So for a spittle second and third pain once Fort on the 50 a bit horizontal, some green center to it. Let's see it one more time. First thin ones on this side under 5th 1 laying flat. So these were some of the five little flowers. Now that the top yellow round flowers have dried, I'm going to pick a take. Makes off lump black. So not much water in my brush and just create too little dabs in the center. And I call these flowers button flowers. You can use the same dark mix. Do create the center in other flowers as well. Or you can attach Samantha Dots to the center with fine lines like this. In the next video, let's continue painting more generous flowers. 7. Generic Flowers-II: Let's continue with the generate flowers. So this time I'm picking some red or parral in maroon in my brush, not much water. Just take color on adding little dots and dabs close to each other for the center, rinsing my brush, patting it dry on picking. A mix of Conakry adorn gold, touching the center pushing and lifting of a touch push on lived. So this is creating fine pedals attached to the center and letting that center bleat. It doesn't matter if you create the pedals. Going outwards are in vets. They will be slightly different shape. Then you can add a bit of violet to the center, not much water, but since colors are wet, they will bleed a bit. I will pick some more yellow, a bit lighter mixed this time I'm feeling. But more pedals, giving it dump fuller look just going in between adding these light metals. If a color is bleeding too much, for example, here simply ruins your brush but it dry and push it on the area, and it will lift the excess moisture off. So now let's see another example. So this time, with some Conacher Joan gold fine lines Radio Lee coming out of the center wearing in their size and now, with some think makes in my brush. One. Pick Bedol a little bit off frayed sides. Another pedal frayed edges. Start Bedol frayed edges fort on fifth, so you create the variation by changing the centre and petal size, darkening up with a bit more off Ghana. Crotone gold will add antidotes. Fence. It's dried. You can also use some green to create little circles attached to each other or little gloms followed by any kind of petals. 10. Once our broad ones or in any numbers, so just touching the center. Pushing and letting go each better is made out of two brushstrokes here, but you can also make single brushstroke pedals. I like how the color bleeds from the center, but you can wait for the center to dry now, madding some deeper red color towards the petals and letting it bleed. You can also add fine lines in the pedals with the same deeper red color. I'll pick some lamp black to up to the center. You can also add to this one it will bleed at places which are still wet, so you can wait to add the enter dots so you can create your own collection of generate flowers. Now let's create a flower that's facing away from you. We'll start for the five petal flower, So first spittle. Second, third fort on fifth. Now wait for this to dry. Let's see it one more time. First, second tired holding it tight. Fort. I'm 50 now, I would say to let it dry, but if you're impatient like me, you can go in with some green. Not much water in my brush. Going with a fine line. It will bleed wherever pitiless. Still that on Abdi's little leave brushstrokes. They're called CEPAL at the back off the flower, so I'll show it to you separately. So fine line with just the tip off my brush and then then leave brushstrokes five in number . Let's seen this one going up attached to the centre and add the samples. Now let's see a flower from the site. So I'm big. The same bank mix one Beto a 10 1 on the site and another sort of rounded pedal on the other side attached and green twig to it, and I let them bleed. Let's see it one more time. One petal this time Do side petals on this one. Another pedal on the other side, one more in the back and attached the green center. Let's see it one more time. Some think makes for a spittle. 10 1 on the side, Another one on the other side. Um, the green tweak. Now let's see the brushstrokes. So for a full petal, do brush strokes one and two. And for the site, Bittles, just touch. Push on lift from both sides. So these were some of the Gen req flowers. So once they're dried, you can add different kind of centers to them with dark colors. So dots connected to the center. It's abdo, this one as well. So these for some of the generate flowers on create a variety of them for your own collection. 8. Anemones: Let's pain some animal knees. So for that I'm going to start with the mix off violet and add a touch of magenta to it, and I'll be making five petaled flowers each. Peto in to brush strokes one and do. That's my first piddle second pedal. I'm leaving a little bit off white in the center. Terry Bedol for it on fifth. Let's see it one more time for some violet and magenta mix. One do three. Don't forget to leave that right in the center for on five. Let's see the individual better brush strokes so one brush stroke and ah, whole pedal in super strokes. From here, you can wait for the petals to dry before you add center. Or you can simply pick some indigo and add a little round centres, leaving a tiny bit of white in them. So almost a full circle, leaving just a little fighting them. And then, with that same take, makes barely any water in it. Create little dots all around this circle you made wherever paper is still that it will bleed a bit so you can wait for the petals to dry and then connect these little dots to the center with fine lines. So let's see it separately, a circle not fully felt and then dots all around it. You can make these anti dots as dense as you like, and then connect them with a fine line. Now, the 2nd 1 has almost dried. We'll add the dots here so you can do just one layer are a second layer off these starts to make them dense and then connect Emmett fine lines. So this was your any money? 9. Roses: I paint roses and quite a few different styles. So one of them is where I start with Eliza in crimson. The brushes, wit but not so prevent have removed excess water. Now I'm touching corner Crotone, magenta, and also connect Redon gold with my brush. And now, holding my brush really low, I'm going to use just the tip of my brush to create a triangle first. And then, with just the tip of my brush, I'll create curves around it, touching each other, leaving lots of white in the center between these curves and pressing my breast just very slightly and now rinsing my brush, not trying it in between and using just the moisture on remaining color in my brush to create these outer petals. And now impressing my brush a bit more than I did in the center. Still not really full press. Now with the touch off gonna Crotone gold. Um, adding just a few little curves back into the shape foreign. Another darker live. I'll pick some Eliza in crimson go back in again in the center Onda round. It just raced sparingly. A few curves here in there. If you want to go even darker value. For that, you'll have to make Salazar in crimson with a touch of Winsor Violet and then simply just a few Little curbs. Don't have too many. If it starts to pull too much, simply rinse and back. Try your brush and lift a bit off the moisture. Bad, dry and left a little bit. So now let's see it one more time. Alice Aaron Crimson Any kind of pink and then a bit of Canal Crotone gold. Start with the try and go. Go around it with fine curves. Little sees touching each other, Living right in the center greens. You brush without drying it. Make more curves pressing. You brush a bit more now. Simply use the moisture and remaining color to make thes petals. I'm not picking any extra color at this point and create a full size off the roads. You want the outermost petals to be quite rough and jagged. Now big, you're gonna Crotone gold First, just a few curves. Try to save that white. Now with Eliza in crimson, a few darker curves on For the final one, you can makes a literary in crimson Andi Winsor, Violet to create a few more little darkest shadows, so this was full rose. Now let's see individual breast strokes. You have got Alistair in crimson. So just the tip of my brush to make triangle and these fine curves using this kind of pendulum kind of motion to create the girls and very slightly pressing my brush for the middle and outer petals. You can also raise your brush to touch a pattern to make it softer like this. So just simple, very slight breasts off your brush. Now for a little butt off rose, I start with the color of petals. So Eliza, in crimson, sort of a better word shape. You can leave a highlight in there. Are you can't even left a bit of color. And now, with the tick makes of green, I'm going to start first with the dot at the base and then fine leaf shapes. Three off them, one in the middle and one on the side surrounding the but so I'll show you just a base and then very fine leaf brushstrokes. In this way. Let's see it one more time. So simple petal shape and then take green mix first at the base and then fine leave shape. You can attach a little stock and the base, so these were your roses. You can try to create them in different color combinations as well. 10. Ranunculus: for Renan Colas. We're going to use almost the same brush strokes as roses. So first we'll start with a light mix off green, not much water in my brush. And with just the tip of my brush, I'll create a little circle and the curves overlapping curves around it. This time, the cars are going to be much tighter, overlapping but still leaving lots of white. And with just the use of my tip of the brush prince, you brush big some pink and continue making those overlapping curves. Right now, I'm not pressing my brush at all, just using the tip of my brush. And as I reached the full size, I'll start to press my brush a little bit. So just a little bit pretty outermost petals. Now go back in with some green, start in the center again and make those curves again, going over the pink a little bit. Now go back in with the pink now a bit ticker mix and add a few of them. Shadow curves. Go back in in the green part. You can add a bit of darker center. A bit of Conakry don't gold on a bit off green to darken up the center again. Let's see it one more time. This time, maybe a yellow one. So we'll start with the green center. Just little curves, tightly packed, overlapping each other. Just the tip of my brush at this point. Prince. My brush. Pick a lighter yellow mix first, just the tip of my brush. Not much water in my brush. Overlapping tightly packed curves and pressing my brush only when I reached a full size. After that, go back in with the green. Go on a bit off the yellow part. Now with a bit of yellow. Make it a bit orangish yellow for Denton. Deeper shadows. You can add a bit of indigo to deepen up the centers they usually have. Ah, take stock some green. Now let's see the individual breast strokes. So pick some color in your brush, not much water. And with just the tip of your brush, create these overlapping circles. Practice this pendulum motion. Hold your brush really tight at the bottom. So simple fine lines, overlapping curves. Not pressing my brush at this point, and only when you reach the full size press you brush very slightly. So this was runnin Kalis 11. Peonies: be honest, can be painted in quite a few ways, so let's see one of them. I'm picking some pink, so just a mix of my magenta and rose, nice and juicy makes and I'm going to make one. Take center Pittle with two brushstrokes, and now that same makes a making a fine side metal, another one on the other side. And with that same makes, I'm going to complete the circle with little curves connected to each other. And now, with just a little bit extra color and more moisture, I'm going to create really big skirt petals three or four, three and four and also create some more side pedals around the circular shape. Now with some corn. Akra, don't gold in the center aisle at the enters. Now let's see it one more time, so we will start with the pink for the big metal so big center pedal 10 months on the side . Complete the circle with connected curves. Friends. Your brush create big skirt petals. Three or four had more site Bittles and now Kanak Redon, Gold in the center. Let's see the individual breast strokes. So 12 for the take battle and then find curves for the side. Ones are the top petals, so middle pedal side and the top funds on for the bottom skirt pedals. Big brush strokes with less color and more water in them. That seat one more time. The standard More magenta center pedal quite grounded. Find site pedals. Complete the circle. Add more water. Big pedals for this skirt. More site. Bittles and then corn. Ah, Crotone Gold for a death center. So this was one of the race to paint buni now for the beauty. But what I do is start with the pink makes and create a sea going from bottom up. So just magenta line rose makes going from bottom up A. C with fine lines. Complete the circle at one more pedal in the middle and then pick some green. Create another petal shape going from bottom up. Some leave shapes at the bottom and connect the stock. Let's see it one more time. Pink from bottom up a C. Close the circle with fine lines going from bottom up, a patellar leaf shape in pink and then same in green. Fine. Leave shape at the bottom on the stock. Let's see individual brushstrokes for this. So some think for toe See going from bottom up Fine line for the curve for the middle pedal in pink are green just from bottom and as you go up, lift your brush for it petal or the supple Just touch your brush bush and left. Just a simple leave brushstroke and for the stock just a gentle push off your brush with just the tip off your brush. So this was your peony. 12. Hollyhocks & Lavender: Now let's create some flowers for chaps. Sort of. A vertical arrangement for strong is Holly Hook. I'll start with some pink in my airbrush, not too much water. I'll imagine a vertical line. And now for the first flower, I'll push my brush. And without lifting, I'm just going back and forth and completing the circle, leaving a little bit of white in the center. Push my brush just going back and forth, jiggling my brush on completing the circle, keeping it quite rough edge, keeping the flowers close to that vertical line. And as I'm going up, I'm reducing the size of the flowers and still leaving the white in the center. So just back and forth, completing the circle for the top most flash. I'll just create little buds by just the dab off my brush. Now with some deeper red or Eliza ring crimson, Ill and just around that white center. Not very liquidy. Quite take mix, but I wanted to bleed in that pink. Now it's, um, Green. I'll create this stock. The mid stock a lab tech leaves in between the flowers, smaller runs up on top and little buds up on top as Well, let's see it one more time. So for the flower, start with the pink. Imagine a vertical line. Push off your brush, go back and fort. Create a full flower. Let's see the flower separately. So just first, a push off your brush and then keep going back and forth without lifting your brush and complete the circle with jacket edge towards outside, living right in the center. That's going to new making more for this one. So flowers close to that vertical line you imagined and reduce the size of the flowers as you're going up and just little dabs for the buds up on top, one more at the bottom. Here, I'll add the green stock in middle. And let's not forget the deeper red centers. If you'll be late like I am with this flower, it won't bleed. And I wanted to bleed in that pink. But don't make your red makes to water. You don't want it to completely bleed in that pink. You just want to pink to be wet when you're adding the red. Now some green leaves, big ones at the bottom at a few in the middle and just dabs upon top. So for the top, it's quite tapered. So let's see it separately. One fine line in the middle little green dabs and then for the birds that are starting to open up a bit. You can add a bit off the petal color and then smaller flowers up on top and increased the flower size going down. So this was your holly hook. Next step is lavender for lavender. You can paint them in a lot of different colors. Variation off your purple and violets. I'll quickly activate my mentor, Violet, and now I'm going to pick some green in my brush and make a fine line holding membership. The bottom fine line going up. Britain's My brush, but it dry. Pick a bit off Winsor Violet on the touch of pink and create little dabs connected to them green center line. So just little dabs close to each other. Connected to this center line, you can make them more detailed, but for a much lose look, I just create little dabs connected to the center. You can add a bit of gap in between and then some green 10 leaves, so let's see it one more time. Some green in the middle, going up fine line. Renzi Brush picks a mincer violet, our little dabs to create more interest. You can change your mix around, so pick a bit of bank. And sometimes I also add a bit of cobalt blue. Just little dabs leave a little bit of gap. A few more dabs at the bottom. So just little depths and then fine leave breaststroke, its own green. So this was just a simple way to paint leavened. 13. Delphiniums: Let's pain some delphinium. I'm starting with some green in my brush and making a vertical dashed line. So not much water in my brush. And now for the first flowers, I'm going to pick a mix off blues. So cobalt blue, just a touch of paler blue on may be a bit off. Indigo is well and death, and I'll start up on top with just little Dobbs close to the center line. And as I'm going down, I'm increasing the size of the dabs. And no, I'll just start with the same better mix. I'm going to start creating little flowers. So first, some four pedal or five pit of flowers close to the center, so some 34 or five petal flowers just fitting them in the petals are just little dots. I'm not defining the flowers too much, increasing the size off this conical shape off the whole diff in Yemen at the bottom, adding some leaves some more green in the centre, connecting these lovers to the midline a few buds up on top. So now let's see the individual flowers, so some green in your brush. One pittle little dabs for the top buds Andi. Five. Little flower, just little dabs with the pedals are some three petal flowers Are some four petaled flowers Now let's see it one more time. Start with the green dashed for tickle line. This time, let's pick some pink on a bit. Offensive violet. Start with little dabs up on top. Increase the size of the tabs as you're going down and now start making little flowers with a mix of 54 or three petals close to the center. The overall shape increases a bit at the bottom, so either make bigger flowers are increase them in number, so just little dabs you can add of few filler battles in between. Defined the middle line again. Connect a few of the flowers with the middle line at the stock. I'll add a few more flowers at the bottom to make it a bit wider at the bottom. You can also go back in with a bit of yellow to add some center. Let's see the individual brushstrokes once more so just little dabs for the doctor buds. After that 12 or three better flowers, a few of four or five petal flowers. So this was your dolphin Ian 14. Hydrangea: Let's create a flower head of hydrangea. So before I get started, what I usually do is with the pencil. I try to create a sort of a very light guideline for myself, so almost a circular shape, another one right behind it. So this gives me a good idea off the size I have to reach. I'll just make it a bit darker so that you can see now for the first flower head I'm going to use just a very light makes initially off blue. So some cobalt and taylor blue mixed in this area and very light makes initially not much water in my brush, and I'll create very light four petals. Lover with a little bit of right in the center. I'll create another one. I'm creating them quite close to each other and trying to fit them like puzzle pieces. Right now, just four petaled flowers, very light, makes I'm sticking to the center for now, going from center afterwards outer edge. After a few light flowers, I will try to change my mixed to a bit darker mix and create a few darker flowers, still sticking to the center and still making them for petal flowers wearing your petal colors gives a bit of interest to the hold hydrangea flower head, so keep them close, try to fit them among each other. - And now, as I'm reaching closer to the outer edge, but I'm going to do is start filling in with do two or three petaled flowers. These flowers are on the edge, so you cannot see them completely, so I'll just add two or three petals, or sometimes just a single dab. Try not to make it completely circular in shape, so stick a few petals a bit outside your guidelines to give it a more organic look. So vary your petals. 234 mostly two or three pedals towards the edge, wearing the color as well. A few lighter ones. A few darker ones, keeping them a bit darker on the right side. Also add at the bottom, generally keeping the bottom a bit darker. Now, with some yellow not much water, I'll add centers to the complete four petaled flowers. So just little dots. And now I'm going to darken up the mix that I had used for the flowers with a bit of indigo in it, so that same blue mix and adding just a touch of indigo. And with that, I'm feeling thes white gaps between the flowers. So sort of defining these light flowers, we made a little bit more, not completely feeling all the white, just very slightly some off the right little dabs. This gives sort of a treaty look to their flower, so just the right gap between the flowers, defining some of the petals a little bit more. I'll show this brushstroke a bit more closely later, wearing the shadow mix of it as well, darker at the bottom, some of the places darker where you wanted to be. Light in the direction of light coming. You need to keep it light on where the shadows will be keeping darker. I'm not adding too much of this in between flower shadows around the edges, keeping mostly to the center, staying away from the very edge off the shape and not filling each and every right. Just a few of them a bit more darker, one at the bottom, filling the gaps and now with some brighter petal color. So no indigo. This time I'll just add a bit more color to a few of the petal to make them a bit more vibrant. So not all of them just a few petals here and there to make it a bit more interesting. And now it's, um, green, a thick stock and some green mixed with some indigo from big pick leaves. So this was first flower head for Hedren JIA. Just add a few more darker shadows here and there. Now let's see the brushstrokes closely, some picking some blue. A touch of Winsor Violet. Here I'm making the flowers a bit more defined with do brush strokes. Keep them quite close to each other, Fitting like puzzle pieces. You can also make them pretty quickly of it. Little dabs. So just little dabs. 1234 1234 And as you reach the outer edges, just one or two are 123 So one are single petal to petal er, three petal on the edges, chicken and a bit of pink center here, so these flowers are so dense that you cannot see through them. That's why we're filling the gaps between them with some indigo. So basically, it's the darker mix. Then what to use for the petals and just going around filling the gap between the flowers, giving the petals a bit more definition sort of negatively varying this shadow mix as well . Some places lighter in some places, darker. Now let's see it one more time with the flower head right behind this blue one, this time with some pink. So this flower is right behind, and I'm starting very close to the blue one, creating four petaled flowers very light. Since it's right behind the first dome, I will have to keep the color a bit darker in the end between the two flowers. So the pink that is close to the blue, I will have to keep it dark, sort of a shadow off the 1st 1 So for not just four petaled flowers, I have my guidelines changing my pink around a bit. And as I start reaching the edge, I'm going to start making them into 23 or single petal flowers. I'll add a few brighter petals here and there. Some of them close it. Do there blue flowers now with the darker mix, or let's first add a bit of greenish yellowish center, so just little dots. It's OK if they bleed or you conveyed for the flowers to dry, Just do that for er four or three petaled flowers, I at the centers. And now with the deeper magenta mix, I'm going to fill the fight in between them, just as we saw earlier. Just between the pedals, the white that we have. I'm making sure that I add shadow colors right behind these blue flowers. So right around here, going down as well. So you can see how filling these gaps turns this circular shape into a bit more three D and makes it look fuller. So try not to add the gaps or fill the gaps close to the edge. Stick to the center Onda bit towards the edge. But stay away from the exact edge and add just little dabs here and there on the edge on big tick leaves On a take stock, you can go back in and add a few more brighter petals here and there. Just little dabs, not complete flowers. So these were you hydrangea flower heads 15. Foliage Color Mixing: before we start painting the lives, I would like to show you a few different color mixes that you can use to create leaves. So as we know that if you makes any kind off yellow with any kind of blue in your palate so , for example, cobalt blue here you will get some kind of green. If you mix that yellow with a different blue So taylor blue, you will get a different green. If you makes Ghana Accra Joan Gold with some indigo, you'll get a much former sort of olive green. So based on what yellow you mix with which blue, you will get a different kind of green. My go to green to use right from the tube is sap green, but I tried to mix it around. I darken it by adding indigo in it. So quite dark green are to get sort of a green gold mix. I makes quinacrine tone gold with the green for the rose leaves. I usually makes a bit of Elysa rain. Grimsson do my green. If you add a bit more off Eliza rain crimson to your green, it will give you the perfect color for little stems and twigs, so play around with the colors that you have makes them with the green that you have, and you will already have quite a variety off the greens for foliage. So one of my favorite greens is actually mixing black with some yellow, so it gives me a nice shade of green. So these were just some of the greens, but for autumn leaves, you can paint them in all different kinds of colors, some of them you can paint with direct indigo. Our for more colorful autumn leaves can paint them in pink or magenta. You can try to pick two colors, so one minister violet on the touch of magenta. So let's do it one more time and create a leaf magenta under touch of insert violet and just push a few brush and left to create a leaf. You can also paint them in red, are sort off orangish yellow. These are just a few options among many that you can create for the leaves. One of my favorite background leave color is just to pick a muddy mix from your palate, sort of a dirty mix where you mixed all kind of colors and that's sort of the perfect one for the base or background leaves that are barely visible. So if you don't have the mud girl ever to do is make some pink at the touch of blue, a bit of yellow, and it will give you mad color. So basically any three primaries. When mixed together, we'll give you sort off a muddy greyish mix based on the proportion or what you add to this greyish mix. You can vary this muddy color around, so let's add a bit more of insert violet, so try to create this gray yourself instead of using Are ready to use Great. So some yellow mixed with some pink at some blue to get this month color dry, adding a bit more blue to it to get a different shade. Sometimes a bit of violet do it so tried to practice. Creating this mix as well for the background leaves in the next video. Let's start painting the leaves, and you can find a guide to mixing these colors under resourced section of this class 16. Leaves-I: Let's pain some leaves now, so I'm starting with some green mixing with indigo, and I'll show you the simplest leave. That is just a touch of your brush. Push on left as you go out. Dutch portion lifters. You go out if you start seeing a bit of streaks like this, that means you didn't have enough moisture or the paper was too rough or you went too fast . So reload your brush and go a bit slow. You can use your bigger brush, so I'm using a number of UNM up now and create that same brush stroke. But the leaves will be a bit wider because the belly is wider here. Now you can use your number four round brush to create do breaststroke leaves, so let's see it one more time. First, second. So just a touch of your brush. Push and lift on. Do that again, leaving a bit of right in the center. Try to make fine lines and then you can add compose. It leaves so multiple leaves it's single brushstrokes or multiple brushstrokes attached to a fine line. So this one is with just single births, strokes and this composite leave. We're going to make it little blades made out of to press strokes. You can make your leaves a bit more rounded, so create a fine line. So instead of lifting and creating a pointed tip, you're trying to create sort of a blunt, rounded tip. Next up, you can also create interesting compound leaves like this. So just dabs increase the size in the middle. Just little dabs. You can create this in all different kind of colors are you can make your leaves wispy. I like to do this for the background leaves, so just start push and give it away. Vis you're going out. You can attach these to, uh, single trick to make it look like with speed palm leaves. You can overlap them a little bit. They look good in the background. Now, let me show you a leaf that is sort of bent so pigs and green first, create a leaf instead of lifting straight on your brush and pull it down. See it one more time. Create a leaf as you going out straight in your brush and push it down. Leave shape straight and your brush push it down. Just the tip of your brush to push it down its seat one more time. Leave shape, push it down and now let's see a bomb leave so you can create them in all different kind of colors. I'm picking some magenta on and violet, creating a fine line in between adding single breastroke leaves. Try to vary your color mixes. If you want them very uniform shape, then stick to either coming into words. The center line are going outwards, so just a push off your brush on left as you going out in the next video. Let's continue painting more leaves. 17. Leaves-II: Now let's paint some eucalyptus leaves. You can paint them quite defined, but to paint them loosely, I use different colors. So first fun is a mix off slight bit of indigo on some green to it. So just a little bit of indigo Onda little bit of green. I'll create a light makes on the petals are quite round, so just a bit of indigo and green to create a variation. I like to add sometimes a bit more indigo and green. So a bit dark relief, some of them that are on the side will look like 10 brushstrokes. So now let's see ho leave. So we're going to start. Imagine a vertical line started. The base one round leaf a bit on the side, 10 1 some off them, laying flat, some of them just little dabs. Arpels, some of them flat on, reduced the sizes. You're going up. And now, with some Eliza in crimson or deeper red, simply create a 10 line connecting them. Let's see it one more time, So imagine a vertical line. Start with your initial green and indigo mix. One pittle rounded tip. You can add a little site, pittle or keep them single. Reduce The size is you're going up and then deeper red for the connecting line between them . So this was your round leaf eucalyptus for silver dollar eucalyptus. I start almost similar either with pink or sort off a yellowish makes to create a midline, really. 10 and lots of branches around it really fine and create lots of fine branches. And now for to leave, I'm picking a bit of green under touch of Kabul blue this time to give me a really nice, very light leaf color. So to create the round it lives instead of lifting your brush as you're going out, use the tip off your brush to come back in. So let's see it one more time. Some green onda touch of blue Godbold blue Push on and come back in with the tip off you brush, you can create them in all different kind of colors as fillers and also as dense as you like. You can add a bit of a deeper color for them little center line between the leaves, or you can also use why gel pin to add the center line. Let me show you the individual leave, So just simple ball blue answer. Green Push unused the tip off your brush to come back in. Push on. Go back in. I'll create a few more. You can create this as dense as you like. And don't forget to attach little tweaks to these extra months. So this was your eucalyptus leave. Now let's look at Rose leaves. So for that I usually makes a bit off Eliza Rain crimson or any kind of read into my green mix. So what touch a friend into my green makes I start with a fine line for the trio and I create do breaststroke leaves. So first, second, I'm tired. Leave created with do brush strokes each. Let's see it one more time. One fine line in the middle and then forced breaststroke. Second breaststroke. That's my first leave. Here's my second leave and is the 3rd 1 You can add darker mid lines in between them or even more details. Let's see it one more time. Push off your brush. One on do. Here's your first leaf. They're quite separated on the end so you can jiggle your brush around to create serrated edge. Our another way is first creator leave shape and then go back in and create little separation on the edge. So let's see 21 more time. Now just little dash is on the edge to create the situation, so these were your rose leaves. You can also create little vines, so fine lines and little vine shapes add leaves to them. I tried to add smaller leaves towards the end and bigger ones at the back. So my favorite leaves are these wispy wants. So all you have to do is big, some kind of light color on practice, making these wispy leaves give it a wave issue going out. Try to overlap them a bit, and they'd be perfect for the background in the next reduce. Let's have a look at some filler elements that you can add to your composition. 18. Fillers: so filler says the name suggests are elements you add to your composition to fill it up. So I'm starting with some green in my brush, and the first type of fillers are little Berries that you cannot. So I'm just creating a branch with some fine lines. So just little dregs. And now with submits a violet, I'm going to add a little round or oval Berries. You can make them quite detailed as well, so take your time to paint them. If you would like, you can keep them quite scattered or quite dense. A swell a land, a few leaves here and there. So this was just one of the Berries. You can create them quite close to each other. So just some Berlin, maroon and Eliza or in crimson Andi, quite close. Little Berries. You often see these ones in Christmas bouquets. Another type of Philip flower is grass. Spadea are you Call it belly buttons, so it's just simple. Round globe A dash with the green stock to paint some snow Berries for your autumn and winter bouquets, but you can do is start with a really light pink, makes not much water and create a few circles filled in and quite close to each other. So second month, tired fourth and the little bit underneath it that are not fully visible. Let's see it one more time. So just a very light bank makes few circles filled in quite close to each other and a few underneath that are not fully visible now. Once they're dried, you can just pick up a darker mixed, then what you did for the Berries and fill the gaps between them. Just as we practiced with hydrangeas. This gives up good definition and kind of makes them pop out of the paper. The color mixes, not watery it all. I'm just using a very dry kind of mix to fill the gaps. I will soft in some of these with another layer off color, dark in some of the shadows again so you can see how you can create these Berries with a bit of detail. Um, adding a bit off indigo little dots so you can create them with quite a bit of detail. Have little twigs, little leaves in between them are. You can also create them pretty quickly as we practiced earlier, so the individual brushstrokes are for the leaves, just simple lyft breaststroke and for the round circles filled in, just create a circle on fill it in with light color. Another type of Philip would be a branch off flowers and buds, so I'll start with some pink and reddish makes agenda Rick flat on its side, a few buds underneath it, and now I'm going to connect them with the green. You can add some leaves to it for a filler over. The edge you can do is create a flat, that sort of hanging. So just a drink bent over and then at the base of the flower and then a simple gen req flower. You can also create some baron twigs, so simple drink or a branch shape with either green or dark green or even brown, so don't add any leaves Are twigs to this just simple Braun shape. So there plenty off options to choose from. You can first create the branch, are a little drink with some green part in it, so little holders for the flowers, and then go on and add the bud shape with the color of your choice. So I'm painting these pretty loosely, just little dabs. So these were the fillers in the next video. Let's look at the simple compositions 19. Simple Arrangements: Now let's paint some really basic compositions. We'll start with a single flower compositions, So first I'm going to paint a five petal flower with some pink and magenta makes and add a bit of inter violet to it and will paint a simple five petaled flower first living right in the center. And while the flower drives, you can either wait or go on and add leaves around it. You cannot two different kinds of leaves so allowed some yellow or corn acrid own gold leaves, keeping them quite dainty. Based on how the flower is to balance it out, I'll add one more Greenleaf on this side. Let's not forget the center so some black little dabs in this center. So this was just very basic. Five petal flat composition. You can do the same with roses, so I'll start with some magenta. A touch of Conakry, adorn gold and create a rose. So just pressing members your little bit going around. I'm going a bit faster than what we practiced earlier, but you can take your own time. I'm just trying to show you the composition. Go back in with the yellow, lifting some color since it's pulling too much, softening the outermost edges, making them rough and now going back in with deeper shadows. And now you can at simple green leaves, so one to three on the top one in the center can act to on the sides. So this was a simple composition. Red Rose can add a bit of deeper centers or deeper shadows like this. You can create something with a very generate flower, so just something makes in my round brush. Let's create a flat that sort off on its side. So we'll start with the middle pedal, a small pedal 10 1 on the side and other run on the side. A few more and then will create sort of a grayish makes fits. Um, green touch off indigo touch of blue under a little bit of violet in it. So I'm just creating sort of a grayish makes. You can test it out. I usually create them on the go, so just fine lines. Don't forget to add a little stop to the extra leaves you added up on top. So this was a very simple composition with the very generous flower. Now let's create something with multiple flies but same kind. For now. We'll start with the five petaled flowers so my bank makes I'm going to create 1st 5 petal flower leaving right in the center. Now I'll pick some garnacha. Don't gold for one behind it. So not all the petals will be completely visible since it's behind the pink one. And now I'll pick some Vince, a violet and a touch of magenta to create another one underneath the pink one while they're drying, let's and the greens balancing it out on both sides. So first here, Aunt 2nd 1 Here. I'll also add too little twigs of Berries. So I'm not trying to make it completely symmetrical on both sides but still trying to maintain a bit of a balance between the two sides. Now let's add some indigo centers to the flowers for just little dab. I tried to save the white re left in between the flower petals in the center, so what do you have to do is remember which of the flowers upon top and which ones are behind it, because the behind once won't have all the petals completely visible. So first make the top one, and then the ones behind it. Now let's try do roses in a composition. Out started Quinacrine tone Rose Alice or in crimson and connector Joan Gold. Just as we practiced, but a bit faster this time. Find antic lines. Prince, my brush. Just pull it out, create softer taker, outer petals. Go back in with Quinn Gold and now let's create another one behind it. I wanted to be sort of contrasting color, so I'll pick a bit off Winsor Violet, A touch of Conakry, Adan Rose. And this one is right behind the 1st 1 so we won't make it a complete rose. I'm using quite rough brushstrokes here just to show you the composition. Now, using some red A littering crimson with Vince, a violet for the outermost petals on using just the touch of water for them outermost once . So you paint the top rose first on the bottom one Later. Now, with some Ellis or in crimson, I'm adding a few touches to the bottom flour and then a few to the top one for the deeper shadows. Now I'll add a bit of indigo to that earlier gray makes we created for the generate flower composition and I'll create these long leaves here on both sides so you can create these leaves in a balance for, or you can also create them in sort of unbalanced ray as well. So a few different kinds of leaves this time with some green, you can go back in on a few more where you think you would like. So keep stepping back to look at your composition and see how much you would like to fill it. Less is more, but keep stepping back to have a look. Let's add one little, but it's a military and crimson and rose for just as we practiced petal shape and then some green at the base and then fine lines just like leave shape for them but another few leaves around it. I'll add a few more green leaves well, so in the next video, let's combine different kind of flowers together to create simple compositions 20. Types of Composition: So before we get started with adding different flours together to create compositions, let's look at some off the composition types. So first fund would be a simple book, a composition. You start with the center flower and then add some McKendry flowers next to it. Try to create them in a way that you see. Ah, bouquet and florist at some leaves, a bit of fillers. 2nd 1 would be sort of an open bookie. So you start with your center flower and you create the other elements a bit scattered, so not as tightly packed it as the first example. So in so different open format, 3rd 1 would be a complete treat. So basically, uh, circular shape, and then you fill it with regular into world off smaller compositions. So you start by placing your main elements and then start filling. You can create them quite balanced are a bit sort of natural and organic. Look to it. The 4th 1 would be just a crescent or sort off a curve arrangement. So again, you start with the center element, create secondary elements around it and try to follow this imaginary curve line by adding your leaves you can create something that's just really specific for adding two corners, especially for stationary designs. You can follow the contour off a shape and create your arrangement. Based on that, you can give it quite an organic feel to it, as if branches or twigs air growing. You can also create a border. So something repetitive are something a bit more natural, like little vines growing. So this one is an example of something repetitive, a big center element and then smaller elements around it and this little composition repeating over. So these were just some of the very basic arrangements there plenty more to choose from, but these are just something to start with. 21. Multiple Flowers Simple Arrangements : Now let's start combining a couple of different flowers for composition. So for the first simple composition, I'm going to start withdrawing Nicholas as my main centre flower. So just starting with green fine lines. I'm going a bit faster because my aim is to show you the composition and known, using something to create those overlapping curves re practiced earlier. Go back in with darker color. So if you would like to watch the flash being painted, are the exact brushstrokes. Follow my earlier videos. Very practice all of these flowers. So now this first run in Kilis is ready. We're going to add some yellow gloves near it, one on this side and another one on the other side. Now let's add some eucalyptus leaves, so I don't have any guidelines drawn. I'm just eyeballing it, trying to create a balance between the two sides, but I'm not trying to make it symmetric, adding the red fine lines. Now let's add a few green leaves, connect them, do big leaves here at the bottom. So I'm just making this composition up. But you can obviously look at some references. Well, I'll just darken up the center a bit more so if you've missed out on watching the videos for the flowers to check them out to learn the brush strokes. Now, instead of adding two dots in the center, I'm adding these little swirls in the center to make them look like little Droz is. So I'm just varying the center. You can add little dots as well. Now, madding. A few more leaves. You can draw guideline to follow along. I would do something like this, so this was the first composition. Now let's look at another one for this one. We're going to start with the burgundy rose. So mixing some Eliza in crimson, barely in maroon on the touch of Winsor Violet, and I'm going to create a pretty rough rose. So mixing my 10 antic brushstrokes because I do not plan to out multiple layers. So I'm just varying my 10 and take brushstrokes right away here. Now, using just the touch of water to make the outermost petals light and kind of rough on the outer edges allowed a bit of darker shadow with the same burgundy mix. So some darker red makes with Vince a violet. And now let's add some secondary flowers. So I'm again starting with my yellow mix, adding a little globe at the bottom and sort of her rose up on top. So just little carves overlapping each other and a bit read in the center. So pretty rough, one with some right. I'm going to add a few dots in the center to bring a bit more attention to it. Now, with that same yellow mix L at another little glob at the border. So this is sort of an open format off a bouquet. Now with some Vince a violet and adding little Berries up on top with some green. Let's connect it with the little twig and add a little branch here as well. You see how the color is bleeding. I don't get bothered by that. Now. Simply add some leaves. Try to decide which direction you want your composition to flow in. Now I'll add some indigo leaves, so just by varying the color of the leaves or type of the leaves, you can create a lot off interest in your composition. I'll add to darker centers at the bottom, so just two little dots you can wait for the flowers to dry before you Anthes. A little bit more darker center, the top rose with some peril in maroon on with just a very light bluish mix, wispy leaves up on top. I could also have added thes as background once, so this was just a very simple composition. You can make it as full as you like. In the next video. Let's paint a few simple projects. 22. Sample Project-I: as a sample project. You can paint this little book a composition offer peony, so I'm just starting with a peony. First center petal Sight better with some pink. Completing the dome with fine curves just as we practiced earlier. Rinse your brush big skirt petals, some more site. Bittles. So it's going to be a very lose bouquet and a very simple one. Now don't forget to enter yellow in the center, so instead of peony, you can choose any other flowers. Humane flower. Now let's add some green. So I make some green with a bit of indigo. Create a stock. It's add some leaves. Let's other composite Lee fried behind this, so I'm just going to pick some indigo. I'm creating the's just out of my memory, but you can look at a reference photograph off a simple bouquet. Now I'll add single brushstroke little leaf. Let's so the flour is in front and these leaves are at the back. Now let's add a delphinium behind this fly. So picking some Vince a violet on a bit off Conacher drone rose and I'll start from top little dabs and then change into 34 or five little flowers just very close to each other pretty loosely. So just little dabs. Now let's add some green to it. So little leaves. So I tried to practice this kind of compositions every now and then. Some off them work out. Some don't, but this gives you an idea to work without a reference, so I'm just adding a little stock at the base for the delphinium. Now let's add some more flowers on the left side. So for that I'm starting with little yellow centers. So just little dots. I'm creating flowers that are similar to forget me nots. So just little yellow centers, followed by very light blue five petal flowers. Each petal is just a dab, so they're basically five petal flash with some yellow centers. Since they're so small, it's nice to add quite a few of them close to each other. That's attached the little drink some little leaves here and there now in the right bottom area and want to add a light color sort off wispy leaves. So I'm just mixing a bit of blue with green, so some cobalt blue mix with green and making those wispy leaves re practiced earlier. Can add some finishing touches. So this was a very simple composition in a book, a format allowed to touch up to delphinium with another darker layer of the same color. So you can keep stepping back to look at your composition and then decide to add, Where do you want to add more leaves or if you want any other filler element in there? So this was your first sample project. 23. Sample Project-II: for this second sample project, we're going to create a simple centerpiece. I'm starting with some magenta onda bit of Conakry, Joan Gold and creating a five petal flower. Each petal is made out of do breast strokes, so some magenta on a bit of gold for each breast stroke. Now I'll add few side flowers. So just some flowers that are on their side as we practiced earlier and under one on the left side. And now I'm going to add a trio off little button flowers with a very light. While it makes so 1st 1 second and a little one at the bottom To balance it out, I'll create similar events up on top. Now let's add some greens. So I'm just connecting these side flowers to the center flower with fine lines and then adding leaves with just one brush stroke. So now let's add some indigo lives just coming out between these two bottom petals. So I'm roughly trying to follow a radial format for all of these elements and adding, I'm not making them symmetric, but just a radio rough format that sad little drinks to these violet but and flowers little leaves with all of them. I'll also create a few Berries. So for that, let's create some green twig first. And now let's add deeper red color Berries to it. Adding small elements like this, compared to bigger elements in your composition, always brings a good interest. Let's add a few more leaves now with some deeper when survival. It'll just add two little dots in the center of thes button flowers. And let's not forget the center for this main centre flower. Suggest some green added to the center. Leave some light. Let's add a few more leaves. It's starting up the base underneath these flowers so you can leave this into flower just like this. Or you can add a few more details. So I'm picking some Eliza in crimson and adding little dots around this center, and this completes your composition and your second sample project 24. Composition Tips: before we get started with our main project, I want to talk to you about composition off a complex arrangement like this. So, just like in movies, you have a main corrector, and the story is all about it. Here you have a main flower, Whether it's bigger size, more details are contrasting colors. You want the eyes to land on this flower, and just like in movies you have supporting cast here you have supporting flowers, and the idea behind them is they should be supporting the main flour and not taking attention away from it. So avoid adding too many details to these supporting flowers. Try to go around your main flour and add them at places not too many numbers, and you want the eyes to follow them, so don't add them. Invade to far corners just around the flower. And I also like to stick two odd numbers because fell add even number of flowers. It will make the composition way too boring, so I try to stick to our numbers. After that, just like in movies, you have background so you can add layered leaves, so very light leaves at the base first, so you can use your muddy colors on the gravestones for these background leaves on. After that, add some darker leaves on top. He also don't want to extend your composition foliage way too much and then add something very eye catching just close to the edge, because then it will take the attention away from the page. You want the eyes to draw in towards your center flour and not too far away from it, so you can keep adding little foliage around. Just keep stepping back on the other. And I like to add a little filler elements, which are kind of really small on because off the contrasting size, whether they're Berries or little flowers years, I will follow these little elements. I try to add them at the very end to add this extra touch off attention to my composition. So do follow these steps. Try to create your main flower attractive enough with more details, contrasting colors on lesser details. In there, supporting elements you can look at book is to get some idea about the composition or simply go with the flow. Keep these tips in mind, and I'm sure you'll be able to create your own unique composition like this in the next video. Now let's get started with the main project 25. Sample Project-III Part-1 (Complex): before we start painting, I want to create a greenish greyish makes for my background leaves. So for that I'm going to start with my ma brush pick a little bit off corner. Crotone rose in my mixing tree, adding a touch of Ireland to it. A little bit of Kabul blue just makes it around. It needs a little bit more of cobalt blue, a little bit more off yellow. And now this makes is ready for me to paint the leaves later on. Now let's get started with the flowers. So for the main centre, Florham, starting with Conakry, adorn gold in my brush. My number six brush and I'm making radio little lines wearing their size and brushes, not soppy wet. But I want these lines to be wet enough so that they will bleed a little bit. Winner and the pedals now for the petal cell picked my mop brush big some rose Greenock, Trudeau, NRO's and a touch of conductor don't gold, and they'll stop making big pedals allowed multiple brushstrokes to each pedal. So just shaping it, adding some frayed sides second pedal, keeping it quite lose. But picking that same mix for each of the petals. So I'm going in towards the center and sometimes pulling out from it to let that yellow in the centre bleed a bit. Let's add a bit more yellow to the center. Defined few of those radio lines a bit more and now a bit darker. Few brush strokes on the pedals, and now we're going to rate for this flat to dry before we add details. Now that this main Flores said, we're going to start adding supporting flowers. So for that I plan to add three roses around it. So for the 1st 1 I want to start with sort off a blush color. So I'm picking some L. A serene crimson and Orlin in my brush on with my ma brush step, I'm able to make fine curves on with just slight pressure. Take curves as well, using water for the outermost petals, so more pressure can create Rose pretty fast this way, adding a bit more yellow. And now this one is done. Let's add one with sort off a burgundy color, so I'll pick some Winsor Violet on the touch of Eliza in crimson, and I'll create one right here. So it's much more rougher than how we have practiced earlier. I'm just wearing Take 10 and going around the center, going back in with a bit of deeper color. Same Eliza in crimson on MENSA violet mix. Now let's add the 3rd 1 in sort of a pink or magenta color, so I'll pick garnacha Don Rose under touch of Arlen to first start. The center makes a fine, antic brushstrokes. The brush is so soft that just very slight pressure able to create the picker petals. Now, with some water, I'll give it a bit rougher shape, adding a bit of magenta, a few extra touches with Eliza Rin crimson for this one, for the deeper shadows and a mix of that burgundy color. For this 3rd 1 these flowers are still wet, so my shadows bleed very softly, adding a bit darker center of magenta to this third floor. So all three of my roses are set. We can add a few other smaller flowers, so for that I'm going to start with a mix off Winsor Violet on magenta. And since we already have sort of her burgundy violet color at the bottom, I'm going to create this five petal flower up on top here. So the same makes Vince a violet and magenta, just creating five petals living right in the center smaller than the roses. I will also create do similar runs in orange color and close to this burgundy rose that I created right here. So I'm just picking some Arlen corn. Akra don't gold makes adding a touch of magenta to it, and I will first create one off them closer to the center flower. So second petal Todd Fort on fifth. I'll add another one a bit lower, but the same makes a bit smaller than the 1st 1 we created in the next video, Let's add some foliage. 26. Sample Project-III Part-2 (Complex): not that our flowers, Er said. We're going to wait for them to dry a bit, will be adding the details later, and this is now the perfect time to start adding some background leaves on the rest of the foliage. So for that I'll first start activating my greens. So just adding a bit of water, a touch of yellow keeping that makes ready. And for the background leaves. I'm picking that Maddie Color remixed and adding a touch of cobalt blue to it. Just testing it on my kitchen paper and I'll start making fine wispy leaves going all around my composition. So composite Lee fit Really find this be once it's very light mix. You can even create multiple mixes like this. I'm not trying to extend it ray down. I don't want it to look like a waterfall bouquet, adding a few up here. So just a touch of my brush pull and give it sort off a wave so madding it almost near all of the flowers. Now that this centre flower has dried or is almost trying, I'm going to add a bit off detailed. So picking some indigo, a touch of black and I'm going to add a bit of green to this, and I'll start adding little dabs first, where those yellow radio lines and wearing the size of the dabs, some big, some small on a few in the center, trying to leave lots of gaps between them, not making them too dense. We can use a picker indigo mix for a few dabs for these flowers, letting the light shine through a few depths for these, and now we can start adding some green leaves. Or you can also create some blue leaves at this point. But I'll start with some green leaves. So Michael Anoca, Joan Gold and Sap green mix allowed to touch off indigo to it to darken up the color an outstanding by creating leaves next to the rose. So just a mini composition in itself. If you consider the rose on these leaves a few here extending it just a little bit trying to make sure I don't make this bottom area too overwhelming. So it's indigo mixed with sap green, and I'm trying to stay away from the edge. Let's and if you up here, I'm trying to leave this little area here and I'll show you why I'm going to make some green with the touch of magenta. Add some Eliza in crimson, a bit more green, and that creates sort off a filler flower or a secondary flower hanging from this side, so just some leaves first. Now let's create our pink mix for the flower, so some magenta mixing it with water and now just a piddle. Some cite Bittle, so it's basically a side facing flowers. Be practiced earlier, and the color is quite similar to other flowers in the center, so it doesn't take the attention away from them. Allowed a bit of green. Some more leaves allowed a few dainty leaves at the bottom, not making them big. Now, up on top. I want to add a delphinium, so just creating the dash center line first. Well again. Keep it pink because it's leading away from the page. I don't want a very contrasting color and shift to my smaller number four brush. If you want to paint something dainty or with lot off little brush strokes in it, try to stick to a smaller brush rather than a big one. You can achieve it with a big one, but I find it makes it look a bit shabby. So if you want to make it look delicate, try to use a smaller brush. So I'm just either making 23 or four or five petal flowers are some little filler dabs here , and they're changing my makes between Magenta Rose, adding some deeper color here and there, getting quite close to the big flash. This we have got a bit of us much years. I'm just going over those two leaves here. Now let's add one extra flour, just like this one on the right will add one up on top so that it doesn't look like it was just a mistake or something. Extra, you added, should look a bit balanced a lot. A few more leaves first next to delphinium under composite Lee right behind this one. So I keep in mind that flower is in front and leaf is at the back, so a little bit off leaf will be showing through some off the other petals. I'm adding a bit more off green in between these flowers, so it doesn't look like they're simply floating a bit off underneath. Foliate should be visible. Let's continue in the next video 27. Sample Project-III Part-3 (Complex): Let's start adding something similar to eucalyptus leaves right here. So indigo and sap green mix ready and I'll start with Berlin Maroon, sort of for baby dashed line. And now indigo on sap green makes to create those rounded leads. Smaller runs up on top, some length flat. I'll create one more, one more upon top. Here, I'll continue adding more green leaves here and there in the gaps connecting the flowers. I'll darken up the base here. One more leave here, so I'm just going around and trying to balance the leaves out. I want to give better shape to this stop flying, but if there's too much color just so often it with the vet brush, the centers of this flower have sort of faded. So I'm just going back in with another round of indigo dabs, giving it a bit more of definition, adding a few fine lines but not too many of them. I'll also add a bit more defined CEPAL at the base of this flower. I'll go around and add the darker leaves with indigo and sap green mix at a few more places , not extending it too much, some just balancing the leaves around. Now I'll go and add a bit deeper shadows to all of my roses. So darker red makes for this one. Some mix of burgundy for this one. What a killer's dry lighter. So it's always nice to add a bit off deeper shadows a bit later, some magenta. For this one, I'll also add a few Duchess of Violet to the stop flower and now some deeper shadow for these orange ones as well. But the bit of magenta else, often it with a vet, brush some more deeper values for delphinium as well, so it prevents them from looking too flat. So my composition is almost ready. I'm just going around adding little details here and there, and you can stop at this point, but I want to show you how to add filler elements, so we're going to add some Berries. So for that I'm going to pick some Alistair in crimson in my brush and create a little twig here. I'll create one twig on the other side as well. I don't want to attract too much attention to the bottom, so I'm not adding one down here, and now we're going to pick some Taylor blue for the little Berries. Since there's a lot of pink and violet in the composition, I always like to add a touch of blue here and there to bring the colors out and sort of balance my colors a bit. I'm not making it to in Thames or too dense. These Berries a lot to this one here is well, and I'm thinking about adding one more twig. First, a few more Berries here so you can completely skip this step if you think your composition is ready. I just wanted to show you how to end them a few little leaves, and now let's add one more up on top. After adding the finishing filler elements, I try to step back and look at my whole arrangement and see where else can I add a bit more off detail? Where do I want the eyes to move to? So, for example, the center of this main flower is fading a bit, so I'm just picking some indigo and a touch of lump black and adding it to feel off the enter dots. Then again, taking a step back, having a look. Where else? Some touch ups are needed so you can do this exercise multiple times. The stop flower needs some simple at the back. So this final part of adding details you can keep going back and forth. But I think our composition is ready. And this was your final project for this class. 28. Conclusion: I really hope you enjoyed this class. And I can't wait to see the projects that you will create. So please make sure to upload them in the project section of this class. And if you're sharing them on Instagram, please stop me and use the hash tag, My little basil underscore sculpture. If you like this class, you might also like mother skill check classes. You can follow me on skill shit to get updates about my future classes. Thank you so much for watching and see you next time.